Mrs. Radcliffe's fictions are romantic, but not usually mediaeval in subject. In the "Mysteries of Udolpho," the period of the action is the end of the sixteenth century; in the "Romance of the Forest," 1658; in "The Italian," about 1760. But her machinery is prevailingly Gothic and the real hero of the story is commonly, as in Walpole, some haunted building. In the "Mysteries of Udolpho" it is a castle in the Apennines; in the "Romance of the Forest," a deserted abbey in the depth of the woods; in "The Italian," the cloister of the Black Penitents. The moldering battlements, the worm-eaten tapestries, the turret staircases, secret chambers, underground passages, long, dark corridors where the wind howls dismally, and distant doors which slam at midnight all derive from "Otranto." So do the supernatural fears which haunt these abodes of desolation; the strains of mysterious music, the apparitions which glide through the shadowy apartments, the hollow voices that warn the tyrant to beware. But her method here is quite different from Walpole's; she tacks a natural explanation to every unearthly sight or sound. The hollow voices turn out to be ventriloquism; the figure of a putrefying corpse which Emily sees behind the black curtain in the ghost chamber at Udolpho is only a wax figure, contrived as a _memento mori_ for a former penitent. After the reader has once learned this trick he refuses to be imposed upon again, and, whenever he encounters a spirit, feels sure that a future chapter will embody it back into flesh and blood.